Interdisciplincr Studies in Musicolo p, zo::

Depcrtment oj Musicolo, Adcm Miclieuicz Unitersit, Poznc!, Polcnd

PATRYCJA MADE!A (Poznu")

Chopin cnd jczz. The ccse oj
Andrzej 1codzi!sli's crrcnement
oj the PreIude In E mInor


ABSTRACT: TIe currenL oI juzz InLerpreLuLIons oI CIopIn`s musIc uppeured In PoIIsI
juzz In LIe eurIy 1qqos. On LIe one Iund, IL Is LIe mosL orIgInuI und nuLIve sLyIIsLIc
Lrend oI uII Lrends InIIuencIng juzz In PoIund. On LIe oLIer, IL Is un excepLIonuI pIe-
nomenon InLernuLIonuIIy, sInce no works oI cIussIcuI musIc Iuve receIved so muny juzz
urrungemenLs worIdwIde. TIe ucIIevemenLs oI PoIIsI juzz pIunIsLs In LIIs regurd Iuve
become mosL represenLuLIve, sInce pIuno LexLure und LIe process oI ImprovIsuLIon on u
gIven LIeme sIow LIe mosL obvIous reIerences - noL onIy musIcuIIy, buL uIso emoLIon-
uIIy - Lo LIe musIcuI Iunguuge oI CIopIn. TIe recordIng oI LIe uwurd-wInnIng uIbum
Chopin by LIe Andrzej JugodzI"skI TrIo In December 1qq LrIggered u IosL oI urLIsLIc
urrungemenLs oI CIopIn works by PoIIsI juzz pIunIsLs, eucI oI wIIcI consLILuLes un
IndIvIduuI upproucI Lo LIe CIopIn muLerIuI, reIIecLed In busIc IucLors sucI us LIe crILe-
rIu Ior LIe seIecLIon oI composILIons or LIemes und LIe process oI LIe orIgInuI`s Lruns-
IormuLIon. MosL juzz urrungemenLs oI CIopIn`s musIc InvoIve LIe pIuno mInIuLures
LIuL domInuLe LIe composer`s oeuvre. TIIs Is due Lo LIe cIurILy oI LIe meIodIc IInes,
wIIcI InspIre urLIsLs Lo Lurn LIem InLo LIemes Ior juzz sLundurds. TIe Prelude in E
minor, Op. z8 No. q Ius become LIe mosL IrequenLIy urrunged pIece oI CIopIn`s musIc
In LIe IIeId oI juzz. TIe numerous urrungemenLs ure uIso sLyIIsLIcuIIy dIverse.
JugodzI"skI`s urrungemenL Is un exumpIe oI LIIs puLLern beIng udupLed Ior use In u juzz
conLexL. or IIm, LIe LIemes und mood oI CIopIn`s musIc Iuve become u preLexL Ior
LIe creuLIon oI IIs own juzz composILIons IurgeIy InspIred by CIopIn`s meIodIes und
IurmonIes, buL uIso by symmeLrIcuI Iorm.
ArrungemenLs oI CIopIn`s musIc Iuve been conLInuuIIy crILIcIsed by purIsLs, wIo
regurd sucI procedures us u sorL oI proIunuLIon (uny puLrIoLIc conLenL In CIopIn`s
orIgInuI composILIons seems Lo vunIsI In LIe cIuos oI juzz ImprovIsuLIon, wIIcI dIs-
Lurbs LIe InLegruI Iorm oI LIe orIgInuIs). TIe busIc probIem Iere seems Lo be Ignorunce
oI LIe IucL LIuL CIopIn`s musIc Is essenLIuIIy onIy u preLexL, u kInd oI exLernuI embIem,
Ior LIe creuLIon oI enLIreIy new composILIons, curryIng dIIIerenL conLenL, cIurucLerIsed
by LIe uuLIor`s IndIvIduuIILy.
KEYWORDS: ryderyk CIopIn, juzz, juzz urrungemenLs, Andrzej JugodzI"skI

n LIe musIcuI cuILure oI Loduy, more uLLenLIon Is devoLed Lo cross-
sLyIIsLIc burrIers, Lo reucIIng Ior u vurIeLy oI InspIruLIons, reIerrIng Lo LIe
ucIIevemenLs oI LIe pusL und commenLIng on LIem In one`s own wuy. TIese
PuLrycju Mude#u
;z
urLIsLIc ucLIvILIes usuuIIy Ieud Lo seekIng newer meuns oI musIcuI expressIon,
wIIIe uL LIe sume LIme poInLIng Lo LIe LImeIess vuIues rooLed In LrudILIon.
However, LIese duys un unequIvocuI ussessmenL oI LIose cIussIcuI musIc
pIeces, wIIcI ure IrequenLIy expressed In u posLmodern upproucI Lowurds LIe
works oI pusL uges, becomes u reuIIy dIIIIcuIL Lusk. RepresenLuLIves oI sLyIIsLIc
purIsm ussume LIuL InLerIerence wILI LIe orIgInuI muLerIuI Loo oILen becomes
un ecIecLIc process, wIIcI does noL Ieud Lo u new uesLIeLIc quuIILy. AIso IL muy
be seen us u munIIesLuLIon oI dIsrespecL Ior LIe IdeuIs oI LIe uuLIor: we deuI
wILI IrugmenLs oI weII-known pIeces wIose orIgInuI Iorm und conLenL were
cIeurIy deIIned by LIeIr composers. YeL, demunds Ior creuLIng compIeLeIy
orIgInuI musIc wIIcI wouId meeL LIe IdeuIIsLIc concepLs oI LIe unIqueness oI
eucI work oI urL, busIcuIIy seem Lo be IruILIess. As suggesLed by RIcIurd SIus-
Lermun, un uppurenLIy orIgInuI work oI urL Is uIwuys u producL oI undIscIosed
borrowIngs.
1
L Is dIIIIcuIL Lo ImugIne u work new In uII respecLs, sInce LIe
IegILImuLe desIre Ior upprovuI und undersLundIng umong LIe pubIIc excIudes
ubsoIuLe rudIcuIIsm. OrIgInuIILy musL LIereIore be IImILed Lo jusL u percenLuge
oI noveILy wILI u IuIrIy IIgI dose oI conLInuuLIon (borrowIngs). TIIs ruIe Ius
been uppIIed In numerous cuses oI LukIng up und processIng musIcuI muLerIuI
In LIe musIcuI cuILure oI uII IIsLorIcuI perIods. nLeresLIngIy, LIe urLIsLIc vuIue
oI LIIs Lype oI cIussIcuI musIc urrungemenLs, wIIcI IurgeIy consIsLs In LIe use
oI oLIer uuLIors` LIemes und Ideus und InLegruLIng LIem wILIIn LIe Irume-
work oI LIe new works, Is noL quesLIoned. TIIs pIenomenon Ius been so Ire-
quenL In LIe creuLIve endeuvors oI composers In eucI eru oI musIc IIsLory LIuL
IL becume LIe subjecL oI numerous scIoIurIy musIcoIogIcuI works.
Juzz InLerpreLuLIons oI CIopIn`s LIemes, so popuIur In recenL yeurs umong
PoIIsI juzz pIunIsLs, ure u conLInuuLIons oI LIe prucLIce oI udupLIng exIsLIng
muLerIuI Ior new composILIons, wIIcI begun us eurIy us LIe RenuIssunce. TIIs
pIenomenon reIers purLIcuIurIy Lo LIe purody muss deveIoped In LIuL eru, In
wIIcI LIe LIemuLIc muLerIuI oILen uccounLed Ior wIoIe composILIons (one`s
own or oI oLIer uuLIors), sucI us moLeLs.
L Is worLI menLIonIng LIuL u IIILeenLI-cenLury meIody L'homme crme,
occurrIng In more LIun o purody musses und numerous IuLe und orgun com-
posILIons, becume LIe mosL common cunLus IIrmus.
z
n LIe Buroque eru, LIe
Iugue wus LIe mosL IngenIous wuy Lo deveIop u LIeme, mosLIy ImprovIsed on u
specIIIed, known, borrowed moLII. AL LIuL LIme pIeces begun Lo be LrunscrIbed
on u Iurge scuIe und LIeIr LexLure wus oILen modIIIed. n IuLer uges LIe Iorm oI
vurIuLIon cume Lo LIe Iore, In wIIcI u usuuIIy sImpIe LIeme underwenL vurI-

1
RIcIurd SIusLermun, Estetlc prcmctcznc. "ue pi#lno i rejlelsjc ncd sztul$
|PrugmuLIc uesLIeLIcs. IvIng beuuLy und reIIecLIon on urL| (Wroc#uw, 1qq8), z6;.
z
'` Iomme urm`, In Andrzej CIodkowskI (ed.), Encllopedic Muzli |TIe EncycIo-
pedIu oI MusIc| (Wurszuwu, 1qq), qqq.
Chopin cnd jczz. The ccse oj Andrzej 1codzi!sli's .
;
ous LrunsIormuLIons, Irom ornumenLuLIon und IIguruLIon oI meIody Lo sIgnIII-
cunL LrunsIormuLIons oI eucI eIemenL oI LIe work. TIe prucLIce oI IncIusIon oI
oLIer composer`s muLerIuI or one`s own prevIousIy composed LIeme wILI LIe
Irumework oI u new composILIon Is LIereIore noL unIque.
TIIs Issue, InvoIvIng LIe LrunsmIssIon oI cerLuIn vuIues, operuLIng so Iur In
one cIosed cIrcuIL, InLo unoLIer cIosed cIrcuIL In wIIcI LIey dId noL exIsL pre-
vIousIy, Is descrIbed us IoIIows by Andrzej CI#opeckI:
|...| We IIve In LImes wIen books ure derIved Irom books, urcIILecLure Irom urcII-
LecLure, und musIc Irom musIc. AImosL noLIIng Is creuLed Irom nuLure, uImosL eve-
ryLIIng Irom LIe exIsLIng cuILure. WIeLIer we IIke IL or noL, we Iuve been IIvIng
Ior some LIme In LIe eru oI posLmodernIsm wIIcI Is Ignored by some peopIe und
upproved by oLIers. beIong Lo LIe IuLLer group, nervousIy respondIng Lo LIe con-
cepL oI posLmodernIsm beIng LrIvIuIIzed Lo LIe cross-over us un IdeoIogy und sum-
pIer LecInIque, us LIe cIvIIIzuLIonuI, LIe onIy cIoIce.

TrunscrIpLIons und urrungemenLs ure LypIcuI pIenomenu In juzz, sInce IL Is
In LIe essence oI juzz Lo use oLIer composers` muLerIuI und modIIy IL Ior new
composILIons. TIe cIoIce oI LIe LIeme Ior ImprovIsuLIon oILen concerns Irug-
menLs derIved Irom cIussIcuI musIc, Irom urLIsLs sucI us BucI, MozurL, ScIu-
berL und even SLruuss und MuIIer. YeL composILIons by CIopIn uLLrucL LIe
bIggesL und sLIII conLInuIng InLeresL umong juzz musIcIuns.
TIe Lrend ussocIuLed wILI juzz InLerpreLuLIons oI CIopIn's musIc uppeured
In LIe PoIIsI juzz In LIe eurIy 1qqos. On LIe one Iund IL Is LIe mosL orIgInuI
und nuLIve sLyIIsLIc Lrend oI uII LIe Lrends InIIuencIng juzz In PoIund. On LIe
oLIer Iund, IL Is un excepLIonuI pIenomenon InLernuLIonuIIy, becuuse none oI
LIe works oI cIussIcuI composers Iuve been cIosen Ior so muny juzz urrunge-
menLs worIdwIde. However, LIe ucIIevemenLs oI PoIIsI juzz pIunIsLs In LIIs
regurd becume LIe mosL sympLomuLIc, becuuse LIe pIuno LexLure, us weII us
LIe process oI ImprovIsuLIon on u gIven LIeme, sIow LIe mosL obvIous reIer-
ence, noL onIy pureIy musIcuIIy, buL uIso emoLIonuIIy, Lo LIe musIcuI Iunguuge
oI CIopIn. TIe recordIng oI LIe uIbum Chopin by LIe Andrzej JugodzI"skI
TrIo In December 1qq provIde LIe ImpeLus Lo sLurL u serIes oI urLIsLIc ucLIvI-
LIes In urrungIng CIopIn`s works by PoIIsI juzz pIunIsLs.
q
TIIs uwurd-wInnIng


|.| $yjemy w czusucI, gdy ksI%&kI powsLuj% z ksI%&ek, urcIILekLuru z urcIILekLury, u
muzyku z muzykI. PruwIe nIc nIe powsLuje z nuLury, pruwIe wszysLko z IsLnIej%cej kuILury.
Czy sI' num Lo podobu, czy nIe, &yjemy od pewnego czusu w epoce posLmodernIzmu, kLr%
jednI Ignoruj%, InnI sI' pod nI% podpIsuj%. NuIe&' do LycI osLuLnIcI, nerwIcowo reuguj%c nu
poj'cIu posLmodernIzmu bunuIIzowunIe do cross-over juko IdeoIogII I LecInIkI sumpIerw,
juko cywIIIzucyjnego, jedynego wyboru.Andrzej CI#opeckI, In Tomusz SzucIowskI, 'CIopIn
I juzz` |CIopIn und juzz|, 1czz jorum 1z (1qqq), qq.
q
Recorded on LIe InILIuLIve oI PoIonIu Records LIe uIbum Chopin wus recognIzed by LIe
reuders oI LIe muguzIne 1czz Iorum: The record oj the ecr :pp(, receIved LIe PoIIsI Mu-
PuLrycju Mude#u
;q
uIbum sLurLed u reuI uvuIuncIe oI sImIIur projecLs, eucI oI wIIcI consLILuLes
un IndIvIduuI upproucI Lo LIe muLerIuI oI CIopIn reIIecLed In LIe busIc us-
sumpLIons, sucI us LIe seIecLIon crILerIu oI pIeces or LIemes, und LIe process
oI LrunsIormuLIon oI LIe orIgInuI.

Juzz urrungemenLs oI CIopIn`s works ure

generuIIy In ILs muInsLreum, IncIudIng uII dIrecLIons und sLyIes uppeurIng be-
Lween New OrIeuns juzz und cooI, or someLImes IuLer sLyIes wIIcI ure noL
munIIesLuLIons oI uvunL-gurde. OLIer urrungemenLs wIIcI go beyond LIe
muInsLreum convenLIon mosLIy reIer Lo LIe Iree juzz sLyIe. PIunIsLs mosLIy
cIose Ior urrungemenLs CIopIn`s works In LrIpIe meLre, uILIougI dupIe meLre
domInuLes In juzz musIc. TrIpIe LIme, In mosL cuses, wus respecLed by urLIsLs,
buL IL uIso Iuppened LIuL LIe cIunge oI LIme sIgnuLure wus LIe busIc IucLor
InIIuencIng LIe degree oI modIIIcuLIon oI LIe orIgInuI pIece. TrIpIe meLre ILseII
wus noL ImporLunL, becuuse LIere wus u more essenLIuI consIderuLIon: compo-
sILIons wrILLen In LrIpIe meLre Iuve cIurucLerIsLIc LIemes or moLIIs us weII us
sIorL Iorms wIIcI cun eusIIy be udupLed Lo LIe IIeId oI juzz (eg. muzurkus).
MosL juzz urrungemenLs oI CIopIn`s musIc, LIereIore, concern pIuno
mInIuLures prevuIIIng In LIe composer`s works. TIIs Is due Lo LIe cIurILy oI LIe
meIodIc IInes wIIcI sLImuIuLe urLIsLs` creuLIvILy Lo wrILe, on LIeIr busIs,
LIemes oI juzz sLundurds. Prelude in E minor, Op. z8 No. q Ius become LIe
pIece oI CIopIn`s musIc mosL IrequenLIy udupLed Lo LIe IIeId oI juzz. TIose
numerous urrungemenLs ure uIso sLyIIsLIcuIIy dIverse. Prelude in E minor Is
cIurucLerIzed by u sopIIsLIcuLed, personuIIzed IurmonIc, wIIcI uImosL com-
pIeLeIy eIImInuLes LIe need Ior uny cIunges. TIe IurmonIc puLLern oI CIopIn`s
Prelude Iound IuvourubIe condILIons In PoIIsI juzz. ormIng sevenLI und
nInLI cIords, us weII us uppIyIng numerous suspensIons und progressIons,
muke LIe mujorILy oI musIcIuns wIo upproucI LIe work LreuL LIe orIgInuI wILI
reverence. CIopIn`s compIex IurmonIc Iunguuge, combIned wILI u sImpIe und
cIeur LIeme, consLILuLes un exceIIenL busIs Ior ImprovIsuLIon. TIe IurmonIc
unuIysIs oI LIe Prelude Is us IoIIows:

sIc ndusLry Awurd - Irderl p(, und Ius uIso been gIven uwurds by LIe TIIrd Pro-
grumme oI PoIIsI RudIo und LIe OnLurIo AssocIuLIon oI Juzz MusIc overs.

TIe JugodzI"skI TrIo`s CIopIn dIscogrupIy conLuIns LIe IoIIowIng oLIer uIbums: Cho-
pin - Lite ct the Nctioncl Philhcrmonic, PoIonIu CD o;6, 1qq; Dnce more Chopin, ZPR
Records, 1qqq; Metcmorphoses, Opus 111 OPS o-z8, 1qqq, und LIe IuLesL uIbum Sonctc
b-moll, Agoru JOqoq-RPK, zooq. OLIer pIunIsLs uppIyIng juzz modIIIcuLIons Lo CIopIn`s
composILIons ure: eszek Mo&d&er (Chopin - impresje, PoIonIu CD ozq, 1qqq und Impres-
sions on Chopin, Opus 111 OPS o-z6, 1qqq), KrzyszLoI HerdzIn (Chopin, PoIonIu CD o6,
1qq6), W#odzImIerz NuIorny (Icntczjc Polslc: Nchorn - Chopin, PoIskIe RudIo PRCD
zz8, zooo), Adum MukowIcz (Rejlections on Chopin, MusIcIun SIowcuse MS 1oz;, zooo)
und Kubu SLunkIewIcz - LIe onIy one wIo, LogeLIer wILI ngu ewundowsku, recorded un
uIbum enLIreIy devoLed Lo juzz urrungemenLs oI CIopIn`s songs (Chopin Sonbool, Accord
ACD 1qq, zoo). TIe projecLs oI eszek Ku#ukowskI, IIIp WojcIecIowskI und PIoLr Ku#u&ny
were muInIy creuLed Ior concerL ucLIvILIes und onIy Iew works Iuve been recorded on uIbums.
Chopin cnd jczz. The ccse oj Andrzej 1codzi!sli's .
;

ExumpIe 1. CIopIn, Prelude in E minor, Op. z8 No. q
PuLrycju Mude#u
;6
n Lerms oI consLrucLIon, LIe Prelude in E minor Is u cIosed, cIeur Iorm,
consIsLIng oI Lwo symmeLrIcuI secLIons AA', wIIcI LogeLIer Iorm u zq-bur (noL
IncIudIng upbeuL und LIe IInuI cIord). TIIs sIorL und cIeur sLrucLure mukes
LIe pIece eusy Lo udupL Lo juzz wIere IL wIII IuncLIon us u juzz sLundurd. TIe
IogIcuI sLrucLure uIso uIIows one Lo IncIude ImprovIsed cIoruses wILIIn IL.
Andrzej JugodzI"skI`s urrungemenL Is un exumpIe oI udupLIng LIIs puL-
Lern Ior use In u juzz conLexL. or IIm LIe LIemes und LIe mood oI CIopIn's
musIc Iuve become preLexL Ior LIe creuLIon oI IIs own, conLemporury, juzz
composILIons IurgeIy InspIred by LIe meIody und romunLIc Iurmony, buL uIso
by LIe symmeLrIcuI Iorm. WIen, In 1qq, PoIonIu Records mude JugodzI"skI
un oIIer Lo record CIopIn`s works perIormed In LIe cIussIcuI wuy, us KeILI
JurreLL dId wILI LIe JoIunn SebusLIun BucI`s Dcs Wohltemperierte Klctier,
LIe pIunIsL wus uIreudy prepurIng IIs juzz urrungemenLs oI CIopIn`s musIc
6
.
TIus, LIe Ideu oI reIeusIng LIe recordIngs coIncIded wILI LIe Iong-pIunned
projecL oI LIe urLIsL. JugodzI"skI InvILed LIe cooperuLIon oI experIenced juzz
musIcIuns: Adum CegIeIskI (doubIe buss) und Czes#uw BurLkowskI (drums).
TIe IoIIowIng unuIysIs wus mude on LIe busIs oI u sLudIo recordIng. TIere-
Iore, IL reIers Lo u sIngIe perIormunce wILI no precIse noLuLIon. CIurucLerIsLIc
exumpIes Iuve been LrunscrIbed In order Lo IIIusLruLe LIe dIscussed Issues
more precIseIy.

TIeme

TIe wIoIe composILIon begIns wILI u sIorL 8-bur pIuno InLroduc-
LIon wIIcI Is derIved by JugodzI"skI Irom LIe orIgInuI uccompunImenL. WIIIe
LIe Iurmony sIows compIIunce wILI LIe orIgInuI (wILI LIe excepLIon oI LIe
IIrsL cIord), LIe rIyLIm undergoes u sIgnIIIcunL modIIIcuLIon und LIus, LIe
moLorIc eIgIL noLe osLInuLo Is converLed InLo syncopuLed process, wIIcI gIves
LIe composILIon bossu novu IeuLures. TIe wuy oI IormIng LIe uccompunImenL
purL Is presenLed In ExumpIe z.
n LIe InLroducLIon, us weII us In LIe wIoIe LIeme, LIe Iurmony Ius been
Luken over Irom CIopIn`s orIgInuI. OnIy u Iew suspensIons used by JugodzI"-
skI ure LIe excepLIons Irom LIe puLLern und LIey ure IurgeIy LIe resuIL oI
rIyLImIc sIIILs. TIe osLInuLo cIord sequence, servIng us un uccompunImenL,
provIdes u conLexL Ior LIe LIeme oI LIe Prelude deveIopIng In LIe doubIe buss
purL (ExumpIe ).
TIe orIgInuI musIcuI muLerIuI wus enrIcIed wILI uccIuccuLurus, Lurns und
gIIssundos, wIIIe LIe rIyLIm Is cIurucLerIzed by u Iree progress us u resuIL oI

6
Murek Romu"skI, 'Andrzej JugodzI"skI - urok pogrunIczu` |Andrzej JugodzI"skI - LIe
cIurm oI LIe borderIund|, 1czz jorum 1oJ11 (zooo), .
Chopin cnd jczz. The ccse oj Andrzej 1codzi!sli's .
;;
IengLIenIng und sIorLenIng LIe vuIues. TIese cIunges ure dIcLuLed by CegIeI-
skI`s IndIvIduuI InLerpreLuLIon und LIey receIve u dIIIerenL Iorm In eucI per-
Iormunce. TIe dIsLrIbuLIon oI uccenLs In LIe bur undergoes u consLunL Lruns-
IormuLIon, wIIcI Is dIrecLIy uIIecLed by LIe specIIIcILy oI LIe bossu novu. TIuL
Is wIy LIe orIgInuI uIIu breve wus repIuced by common LIme (LIereIore LIe
number oI burs In LIe composILIon Increuses Lo q8). TIe IormuI sLrucLure oI
LIe LIeme Is enLIreIy consIsLenL wILI LIe orIgInuI versIon und, usIng LIe wIoIe
sLrucLure oI LIe puLLern, cIoses wILIIn Lwo zq-bur secLIons AA'.
ExumpIe z.
PuLrycju Mude#u
;8
ExumpIe .


PIuno ImprovIsuLIon

TIe LIemuLIc muLerIuI serves us LIe buse und u source oI creuLIvILy
Ior LIe pIuno ImprovIsuLIon. TIe meIodIc sLrucLures orIgInuLe Irom LIe Iur-
mony wIIcI wus Luken Irom LIe IIrsL pIuse oI LIe composILIon und wIose
modIIIcuLIons ure IImILed Lo reorderIng or uddIng some exLensIons Lo LIe
cIord und uppIyIng uILeruLIon. TIe IurmonIc busIs uppeurs In LIe buss IIne,
wIIIe LIe cIords derIved Irom LIe orIgInuI ure perIormed by LIe pIuno, und
LIus LIe LexLure oI LIe composILIon receIves u dIIIerenL sIupe (IL Is Lruns-
Iormed Irom u z- Lo -dImensIonuI composILIon).
n IIs ImprovIsuLIon JugodzI"skI uvoIds LIe exLreme regIsLers oI LIe In-
sLrumenL, Ie moves In LIe mIddIe regIsLer (Irom I sIurp Lo d

). TIe ImprovIsu-
LIon Lukes LIe IIneur sIupe, someLImes enrIcIed wILI doubIe-sLops, sLrongIy
reIerrIng Lo LIe prImury modeI by oscIIIuLIon oI LIe meIody uround LIe busIc
sounds oI LIe LIeme. Ls cIurucLerIsLIc IeuLure Is u Iurge number oI uccIuccuLu-
Chopin cnd jczz. The ccse oj Andrzej 1codzi!sli's .
;q
rus, und LIere ure uIso pussuge-works. JugodzI"skI uses LIe IoIIowIng scuIes:
dorIun (bur 16), cIromuLIc (bur -6), uILered (bur 16-1;), und penLuLonIc
(bur z-z6).

ExumpIe q.

PuLrycju Mude#u
8o
TIe wIoIe ImprovIsuLIon Lukes LIe Iorm oI Lwo q8-bur CIoruses, und eucI
oI LIem Is cIosed wILI LIe IInuI LIemuLIc IrugmenL :
ExumpIe . CIorus

ExumpIe 6. CIorus

TIIs pIuse oI LIe composILIon Is IoIIowed by Lwo IurLIer ones wIIcI con-
sIsL oI doubIe buss ImprovIsuLIon (q8-bur cIorus) und u reLurn Lo LIe LIeme,
LIIs LIme sIown In LIe pIuno purL. Here, us beIore, LIe LrunsIormuLIons oI LIe
muIn meIodIc IIne ure jusL nuunces. TIe Prelude IInIsIes wILI LIree sLuLIc
cIords, IdenLIcuI wILI LIe orIgInuI.
JugodzI"skI IormuIuLes LIe orIgInuI LIemuLIc muLerIuI oI Prelude in E mi-
nor In LIe cIussIcuI Iorm oI u juzz sLundurd, wILI u skIIIuI buIunce beLween LIe
Iunguuge oI juzz und CIopIn`s musIcuI modeI. TIe conIronLuLIon oI LIese Lwo
sucI wIdeIy dIIIerenL worIds oI sounds, In LIe cuse oI JugodzI"skI`s urrunge-
menL, demonsLruLes LIe exIsLence oI u dIscourse beLween romunLIc musIc und
juzz.
CIopIn`s composILIons were und sLIII ure LIe subjecL oI uII sorLs oI ur-
rungemenLs, IncIudIng vurIous wuys oI LrunsIormIng LIe puLLern, wIIcI
runges Irom LrunscrIpLIon, LIrougI InsLrumenLuLIons und urrungemenLs, Lo
purupIruses, resuILIng Irom LIe uuLIor`s InspIruLIon Iound In u purLIcuIur
pIece or jusL ILs muIn LIeme. TIe InLeresL In CIopIn`s musIc Is, Lo some exLenL,
IIsLorIcuIIy jusLIIIed. One Ius Lo reuIIze LIe posILIon CIopIn IoIds In LIe IIs-
Lory oI musIc. He wus LIe InnovuLor, beIng uIeud oI Wugner`s ucIIevemenLs In
LIe IIeId oI Iurmony und IeruIdIng LIe comIng oI Debussy; CIopIn`s use oI
IoIk scuIes und modes sIgnIIIcunLIy unLIcIpuLed RuveI`s or even BurLok`s
ucIIevemenLs. Above uII, Iowever, IL Is CIopIn`s conLrIbuLIon Lo LIe deveIop-
menL oI pIuno LecInIque und LexLure LIuL Is mosL sIgnIIIcunL. TIereIore, LIe
Chopin cnd jczz. The ccse oj Andrzej 1codzi!sli's .
81
IucL LIuL muny musIcIuns, especIuIIy pIunIsLs, wunLed Lo Luke up dIscourse
wILI CIopIn`s musIc In LIeIr own wuy, us IszL dId, Is noL surprIsIng.
;
CIopIn
IImseII IrequenLIy wILnessed LIe urrungemenLs oI IIs own works, sucI us Mc-
zurlcs sung by PuuIInu VIurdoL. One LIus comes Lo LIe concIusIon LIuL cIuIm-
Ing uny InLerpreLuLIons oI CIopIn`s works Lo be desecruLIng wIuL Is IeId su-
cred Is un u-IIsLorIcuI urgumenL. TIere Is u pIuce wIere one seeks Lo purIIy
LIe musIc oI CIopIn Irom IndIvIduuI Ideus und wIere LIe Lendency Lo modIIy
LIe noLuLIon Is opposed: LIIs Is TIe nLernuLIonuI ryderyk CIopIn PIuno
CompeLILIon.
8
L Is, Iowever, u Iomuge Lo CIopIn LIuL IIs works uIso IuncLIon
us muLerIuI used by LIe mosL ouLsLundIng musIcIuns, wIo Ior yeurs Iuve been
urrungIng LIem In vurIous sLyIes, Lrends und convenLIons. TIIs enubIes CIo-
pIn`s musIc Lo reucI new uudIences.
mprovIsuLIon, wIIcI Is un InIerenL componenL oI juzz urrungemenLs, wus
u weII-known und cuILIvuLed prucLIce In CIopIn`s LImes. Moreover, IL remuIns
In IuII Iurmony wILI LIe creuLIve process experIenced by LIe composer IIm-
seII. CIopIn wus, In IucL, one oI LIe greuLesL ImprovIsers In LIe IIsLory oI mu-
sIc, wIo, Irom cIIIdIood, IuscInuLed IIs IIsLeners wILI LIe gIIL oI ImprovIsu-
LIon und guIned LIe udmIruLIon oI LIe conLemporury press, musIcIuns, poeLs,
wrILers, puInLers, us weII us IIs IumIIy cIrcIe und IrIends.
|...|A concerL wus unnounced, wIIcI greuLIy InLrIgued LIe pubIIc, becuuse LIe
posLers udded LIuL CIopIn wouId ImprovIse on u gIven LIeme. n LIe HuII oI LIe
oId LIeuLre In KrusI"skI Squure, crowded wILI LIe uudIence, EIsner, LIe Iormer dI-
recLor oI LIe ConservuLory, IuvIng reud ouL LIe conLenL oI LIe progrumme, comes
ouL, gIves us u scroII oI puper und usks us Lo wrILe u LIeme Lo be ImprovIsed, und
LIen puss IL on Lo LIe sLuge LIrougI LIe orcIesLru. ryderyk, on receIvIng LIe pIece
oI puper, smIIed - LIen Ie sILs down uL LIe pIuno und begIns Lo pIuy, I.e. Lo Impro-
vIse on LIe gIven LIeme. AmusemenL und cIeer spreud LIrougIouL LIe HuII be-
cuuse LIe LIeme wus LIe weII-known song: Dj db% t chmielu nc te tczli nie
lcz& |OI, you Iops, II onIy you dId noL cIImb up LIose poIes| |...|. He creuLed u joy-
IuI meIody ouL oI LIIs LIeme, wILI LIe seL noLe reLurnIng every momenL; LIe uudI-
ence`s enLIusIusm wenL beyond uII bounds. TIe LIeuLre sIook wILI LIunderous
uppIuuse und cIeerIng. He ImprovIsed on oLIer gIven LIemes, und LIe ovuLIon wus
endIess. We IeIL LIe LIeuLer sIngIng LIe meIodIes pIuyed by ryderyk.
q


;
Adum S#uwI"skI, In SzucIowskI, 'CIopIn I juzz`, q;.
8
Grzegorz MIcIuIskI, IbId., q8.
q
|.| Og#oszono koncerL, kLry ogromnIe zucIekuwI# pubIIczno(), gdy& w uIIszucI do-
duno, &e CIopIn nu poduny LemuL b'dzIe ImprowIzowu#. W suII sLurego LeuLru nu pIucu
KrusI"skIcI, przepe#nIonej pubIIczno(cI%, po odczyLunIu szLuk obj'LycI progrumem wycIo-
dzI EIsner, wczesny dyrekLor KonserwuLorIum, wr'czu num zwILek pupIeru I prosI, uby(my
nupIsuwszy LemuL do ImprowIzucjI, przez orkIesLr' poduII nu scen'. ryderyk odebruwszy
kurLk', u(mIecIn%# sI' - sIudu do IorLepIunu I zuczynu gru) Lj. ImprowIzowu) nu zuduny
PuLrycju Mude#u
8z
ArrungemenLs oI CIopIn`s musIc Iuve consLunLIy been crILIcIzed by pur-
IsLs wIo regurd sucI uLLempLs us u kInd oI proIunuLIon (compIeLe works wILI u
degree oI puLrIoLIc conLenL seem Lo Iose LIe IuLLer In LIe sound cIuos oI juzz
ImprovIsuLIons wIIcI dIsLurb LIe InLegruI Iorm oI LIe orIgInuI composILIons).
TIe busIc probIem Iere seems Lo be LIuL LIIs Ignores LIe IucL LIuL CIopIn`s
musIc Is essenLIuIIy onIy u sLurLIng poInL, u kInd oI ouLer embIem Ior LIe creu-
LIon oI enLIreIy new composILIons, curryIng u dIIIerenL conLenL, cIurucLerIzed
by LIe uuLIor`s IndIvIduuIILy. TukIng InLo consIderuLIon LIe consLunL presence
oI posLmodernIsm LIese duys, LIe uddIng oI swIng, unknown In CIopIn`s duys,
Lo LIe quuIILIes oI IIs musIc, Is boLI un InLeresLIng und upproprIuLe prucLIce.
WIuL we do, Is perceIved wILI greuL sympuLIy und InLeresL by u Iurge group oI
cIussIcuI musIc Iovers, especIuIIy LIose open Lo unconvenLIonuI LIIngs. Hence IL Is
worLI LIe eIIorL. Muy we jusL noL IeL ourseIves be currIed uwuy by LIe eusy enLIu-
sIusm, muy we noL be InvoIved In uny kILscIy ucLIvILIes. TIere Is sucI u dunger.
Any uILerIng oI CIopIn`s orIgInuI work musL be done wILI un ucuLe sense oI re-
sponsIbIIILy.
1o



Trcnslcted b Mcrzenc 1ercz!slc


LemuL. Rudo() I weso#o() przebIegu po cu#ej suII, bo LemuLem Lym by#u znunu pIosenku: Dj
db% t chmielu nc te tczli nie lcz& |.|. Ju& z Lego LemuLu rozwIn%# rudosn% meIodI', w
kLrej co cIwIIu powrucu#u zudunu nuLu, zupu# pubIIczno(cI przeszed# wszeIkIe grunIce.
TeuLr Lrz%s# sI' od okIuskw I grzmI%cycI okrzykw. mprowIzowu# jeszcze nu Inne podune
LemuLy, u okIuskom nIe by#o ko"cu. WyszII(my z LeuLru (pIewuj%c grune przez ryderyku
meIodIe. KrysLynu KobyIu"sku, 'mprowIzucje ryderyku CIopInu` |ryderyk CIopIn`s
ImprovIsuLIons|, Rocznil Chopinousli 1q (1qqo), 6q.
1o
To, co robImy, jesL odbIerune przez spor% grup' kIusycznycI meIomunw, zw#uszczu
LycI oLwurLycI nu rzeczy nIekonwencjonuIne, z du&% sympuLI% I zuInLeresowunIem. CIybu
wI'c wurLo sI' Lym zujmowu), oby(my LyIko nIe duII sI' porwu) #uLwemu enLuzjuzmowI,
&eby(my nIe duII sI' wcI%gn%) w dzIu#unIu kIczowuLe. JesL LukIe nIebezpIecze"sLwo. JukkoI-
wIek przerubIunIe orygInu#u cIopInowskIego musI by) dokonywune z ogromn% odpowIe-
dzIuIno(cI%. KrzyszLoI HerdzIn, In SzucIowskI 'CIopIn I juzz`, q.